转自：贵州日报 《狂野时代》海报。 《地球最后的夜晚》海报。 同时，今年恰逢世界电影诞生130周年、中国电影诞生120周年，《狂野时代》作为一部像费里尼的《八 部半》、特吕弗的《日以作夜》等一样的，关于电影自身、致敬电影艺术的"元电影"，虽然将故事设定 在人类不再做梦、不再需要电影的时代，但也通过向死而生、浴火重生的意象，对甚嚣尘上多年的"电 影已死"论调做出有力回击，道出这门艺术即便正在经受AI与短视频的冲击，被技术、理性、算法所"规 训"，但只要梦境、感性、情感还在，便依旧会魅力非凡。就像早期的动画装置费纳奇镜制造的效果， 仍然会将今天的我们深深吸引。 偈语引导人物放下执念 毕赣执导的艺术电影数量虽然有限，但不可否认其作品已有极具辨识度的鲜明特色，凸显出作者性：他 善于用意象丰富、诗意氤氲的镜头语汇，尤其是想象力超群的长镜头，以非线性叙事、拼贴等手法，将 诗句、歌声、昔日的流行文化符号等融入故事，让现实与记忆、梦境、幻觉融为一体，含混物理时空边 界的同时，重新建构心理时空。 在世界电影版图中，毕赣的创作可以从用镜头雕刻时光的塔可夫斯基、把多重时空并置的阿彼察邦、将 东方美学特质融入创作的侯孝贤等中外名导的 ...

《狂野时代》的境遇，折射出当下中国电影市场中艺术影片所面临的共同挑战。作为一部具有较高观影 门槛的作品，它既要求观众对电影史有基本了解，以辨识片中的互文与致敬；还需对毕赣前作《路边野 餐》和《地球最后的夜晚》中的意象体系与叙事逻辑有所了解；更呼唤观众对中国社会变迁具备敏锐的 感知与反思，方能把握作品隐喻中的现实指向。 为其颁发"评委团特别奖"的戛纳评委会主席朱丽叶·比诺什曾如此阐释该片的获奖："这是我们单独设立 的奖项，评委会拥有设置特别奖的权利。《狂野时代》是一部关于梦境的电影，它充满想法、独具风 格，深深打动了我。经我提议，评委们一致同意为它授予这个特别奖。" ■陈平 在2025年第78届戛纳电影节主竞赛单元摘得"评委团特别奖"的毕赣新片《狂野时代》，虽在预售阶段票 房过亿元，自正式上映起，却面临票房快速下滑、观众流失与评价两极的现实处境。 （来源：嘉兴日报） 转自：嘉兴日报 在全片的"嗅觉篇"中，中年扮相的易烊千玺饰演20世纪80年代的一个骗子，以特异功能之名在江湖行 骗。他和一个孤儿小女孩以父女的假身份联合行骗。在以闻牌识牌的把戏骗到钱后，骗子悄然离小女孩 而去。在片中，小女孩一直在问一个问题："一个 ...

11月22日，导演毕赣的新电影《狂野时代》上映。这距离他2016年上映的《路边野餐》，正好过去10 年。 过去10年，中国电影市场经历了很多变化。2024年，中国微短剧市场规模超过该年内地电影市场的总规 模。与此同时，毕赣仍然在坚持做一个小众的艺术电影导演，一如10年前。 "很多人问我说，你拍电影，但现在观众越来越少，电影行业不好。我的回答都很简单，拍电影是因为 喜欢电影。"毕赣说，10年间，他始终保持着自己的创作节奏——不追逐热点，不频繁露面，投入生 活。 这位青年导演家境普通，妈妈开理发店，奶奶开麻将馆，爸爸是个司机。在26岁时，他导演了《路边野 餐》。凭借这部在亲人、老师和朋友的资助下完成的影片，他在33个国际电影节获得13个奖项。 1 毕赣的电影具有极强的作者主观性，他擅长把现实、幻觉和梦境交织在一起，复杂的长镜头和诗歌一般 的对白是他的标志，他形容自己的电影是把无数的拼图扔给观众，靠他们自己的生命经验去拼凑出一种 可以共通的情感。10年间的3部电影标记着他与时间、记忆、死亡等终极命题的对话。 《路边野餐》的拍摄地，是毕赣的家乡——贵州凯里，1989年，他出生在这里。毕赣小时候是一个"特 别爱听故事的 ...

Core Viewpoint - The film "Wild Times," directed by Bi Gan, has achieved significant box office success but faces polarized reviews, highlighting the tension between artistic ambition and audience expectations in the current market [3][6][9]. Group 1: Box Office Performance - "Wild Times" broke 100 million in pre-sales and grossed 79.5 million on its opening day, outperforming many commercial blockbusters released this year [3][6]. - As of November 27, the film has earned 153 million after six days of release, but its screening ratio has dropped to 6.8% [6]. Group 2: Audience Reception - The film has received mixed reviews, with some viewers expressing confusion and dissatisfaction, leading to a 15% refund rate [3][6][9]. - On Douban, the film has a score of 6.5, indicating a divide in audience opinions, with ratings ranging from one star to five stars [8][9]. Group 3: Artistic Ambition - Bi Gan's filmmaking style blends dream and reality, aiming to create a poetic and visually unique experience, which has garnered critical acclaim, including a special award at the Cannes Film Festival [3][11]. - Critics have noted the film's epic quality and its exploration of historical themes through a non-linear narrative, which may challenge traditional storytelling expectations [9][12]. Group 4: Star Power and Fan Engagement - The film's success is partly attributed to the star power of its leads, Yi Yangqianxi and Shu Qi, with fans actively promoting the film through various means, including organizing screenings and creating themed events [7][8]. - The engagement of Yi Yangqianxi's fanbase has been significant, with fans expressing satisfaction with his performance across multiple roles in the film [8][9].

毕赣的电影《狂野时代》，因主演易烊千玺、舒淇的影响力，预售票房破亿，随后口碑两极分化，"看不懂""退票 15%"等关键词，让其频上热搜。 毕赣执导的电影《狂野时代》，因主演易烊千玺、舒淇的影响力，预售票房破亿，11月22日首映票房达7950万 元，碾压今年上映的不少商业大片。但在该片上映过程中，口碑开始两极分化，"看不懂""退票15%"等关键词， 让《狂野时代》频上热搜。 《狂野时代》是毕赣导演时隔7年的第三部长片。今年5月，该片作为今年唯一入围戛纳电影节主竞赛单元的华语 片，荣获主竞赛单元特别奖，评审团主席朱丽叶·比诺什称赞其为一部非凡的、充满诗意的电影，"它是如此与众 不同，单在视觉方面就已经俘获了我，我觉得这无与伦比。" 影片延续毕赣过去那种梦境与现实交织的风格，带着观众进入一场百年幻梦之旅。 截至11月27日，《狂野时代》上映六天，票房达1.53亿，排片占比一路下滑至6.8%。 粉丝与迷影之割裂 位于北京朝阳公园东侧的微博IN跨次元引力场，刚开业一个多月，因为《狂野时代》上映和易烊千玺25岁生日， 成了城中热闹的打卡点。 全楼屏幕轮播的电影片段，加上立牌、冰屏、花墙，以及无数涌入场内的粉丝，让整栋楼成 ...

刚刚说完我们不是电影号， 看完毕赣导演的新片《狂野时代》，忍不住，又来了。 毕竟，易烊千玺太惨了，这部迷影电影里，小伙子做了六次梦，一次 比一次死得惨。 当了怪物，革了命，被叫小狗日的，做过投机者，然后死在千禧年到来时分，吸血鬼的利牙之下。 电影两小时，人间过百年。 我们以前总是说，电影是疲惫生活里的英雄梦想，毕赣是给自己的电影生涯做了一场完整的理想之梦。 从《路边野餐》《地球最后的夜晚》，到现在的 《狂野时代》，泥泞中的人生如同小城里的雨雪俱下，每一分钟都举步维艰。 显然，《狂野时代》有门槛。 从世界上第一部电影《水浇园丁》，以及1905年的《月球旅行记》的致敬，到后面血色少年在千禧年的长镜头。 这是毕赣 写给自己和电影的一封情信，也像是一封美丽的遗书。 但电影里那些狂野的小城没有门槛，导演毕赣这次从自己的家乡凯里走了出来，但依然聚焦在西南，各种独特的小城镇里。 四川内江、重庆的江津，以及，丰都。 几个故事当中，我最意犹未尽的，就是在丰都悟惑寺拍的"苦妖"。 还俗的小和尚，帮一群盗匪偷运破败寺庙里的佛像，最后被安排独自留守在大雪中的 寺庙里，风雪很大，夜晚很长。 这一个关于味觉的故事，看起来游走于神怪之间， ...

Core Insights - The film "Wild Times," directed by Chinese filmmaker Bi Gan, received the Special Prize in the main competition at the 78th Cannes Film Festival, generating significant excitement among art film enthusiasts globally [1][12] - "Wild Times" is described as a meta-film that pays homage to over a century of film history, showcasing Bi Gan's ambition and love for cinema [2][12] - The film is structured into six chapters, each reflecting different cinematic styles and eras, from silent films to contemporary narratives, creating a rich tapestry of visual storytelling [3][5][14] Group 1: Film Structure and Themes - The film opens with a silent film chapter, introducing a world where humanity has lost the ability to dream, with the character "Dreamer" being the only one still captivated by illusions [3][13] - Each chapter corresponds to a sensory experience, focusing on visual, auditory, taste, smell, and touch, culminating in a complex narrative that explores the evolution of cinema [5][14] - The narrative progresses through various cinematic styles, including film noir and Eastern philosophical themes, reflecting on the past and the nature of memory [4][6][8] Group 2: Critical Reception and Artistic Expression - "Wild Times" has received polarized reviews, with some praising its visual aesthetics and others questioning its narrative structure and symbolism [16][18] - The film's unique approach to storytelling and its dreamlike quality have been highlighted as significant contributions to contemporary cinema, positioning Bi Gan as a leading innovator in film language [16][19] - Critics have noted the film's ability to evoke deep emotional responses while simultaneously challenging viewers to engage with its complex themes [17][18]

Core Points - The article highlights the enduring artistic vitality of French actress Isabelle Huppert, who continues to perform with passion and creativity at the age of 72, recently touring China with the play "The Cherry Orchard" [1][2] - Huppert's performance style is characterized by subtlety and precision, earning her recognition as one of the best actors of her time, with accolades including a second-place ranking in The New York Times' list of the best actors of the 21st century [2][4] - The production of "The Cherry Orchard," directed by Tiago Rodrigues, remains faithful to Chekhov's original work, focusing on the emotional struggles of a noble family facing the loss of their ancestral estate [2][6] Performance Insights - Huppert's portrayal of Lyuba Ranevskaya in "The Cherry Orchard" is marked by a restrained emotional expression, contrasting with previous interpretations that emphasized more overt emotionality [5][6] - The minimalist staging and non-naturalistic direction of the play allow for an open interpretation by the audience, encouraging personal connections to the character and the narrative [6][8] - Huppert's ability to convey complex emotions through subtle physicality and micro-expressions enhances the audience's engagement with the character's internal struggles [5][6] Cultural Exchange - Huppert expresses a strong appreciation for Chinese cinema, citing films like "Daylight Fireworks" and "Roadside Picnic" as examples of works that resonate with European audiences [7][8] - The actress emphasizes the universal language of film and theater as a means of fostering understanding and emotional connections across cultures [8] - Huppert is open to future collaborations with Chinese filmmakers and expresses a willingness to learn Mandarin to enhance her engagement with Chinese roles [8]